Rollo May의 관점에서 Francis Bacon의 회화에 나타난 불안에 대한 연구

김민경,신지현 한국미술치료학회 2024 美術治療硏究 Vol.31 No.1

This study aimed to explore the anxiety that appeared in Francis Bacon’s paintings from the perspective of Rollo May and examined the characteristics of the paintings by considering Bacon’s life events, epochal situations, and the cause of anxiety. Selected twelve representative paintings were analyzed based on period, events, characters, and anxiety that had a psychological impact by selecting pieces from different periods of Bacon’ works. First, the causes of anxiety were the coercive and indifferent parenting attitudes of his parents, frequent relocations, and his struggle with gender identity. Second, Bacon used his work to relieve anxiety, which could generate creativity from May’ perspective. Third, images of anxiety in Bacon’s paintings expressed through bizarre figures were not human or animal shapes, but grim atmospheres created by the painful expressions of human and disfigured and distorted faces in portraits. Observing Bacon’s later paintings after the death of his lover, George Dyer, from May’s viewpoint, Bacon attempted self-realization by immersing himself in his work. Based on these results, this study was meaningful in presenting the new perspective on Bacon’s works, highlighting how he confronted anxiety and strove for self-realization through the process of creating and healing. 본 연구는 Rollo May의 관점에서 Francis Bacon의 회화에 나타난 불안을 탐구하고자 하였다. 이를 위해 Bacon의 생애사적 주요사건과 시대적 상황을 통해 불안의 발생원인과 회화적 특징을 살펴보고, Bacon의 작품 중 시기별로 구분하고 심리적인 영향을 끼친 사건과 인물, 불안을 기반으로 총 12점의 회화를 대표작품으로 선정하여 불안과 창조성의 연관성을 강조한 May의 관점에서 분석하였다. 그 결과, 첫째, 부모님의 강압적이고 무관심한 양육태도와 잦은 이사, 동성애라는 성정체성에 따라 불안이 형성되었다. 둘째, Bacon은 불안을 해소시키는 방식으로 작품 활동을 전개하였고 이는 불안에 의해 창조성이 유발된다는 May의 관점에서 이해될 수 있다. 셋째, Bacon의 회화 속 불안 이미지는 인간과 동물의 형상이라고 할 수 없는 기괴한 형상, 인간의 모습이지만 고통스러운 표정으로 인한 암울한 분위기, 초상화 속 인물을 일그러트리고 왜곡시킨 얼굴로 표현되었다. 넷째, May의 관점에서 Bacon의 후기 회화들은 연인이었던 George Dyer의 죽음을 기점으로 사회적 통찰이 배제되었지만 작품 활동에 매진했다는 점에서 불안에 벗어나 자기실현에까지 도달하고자 했음을 엿볼 수 있었다. 이러한 내용을 바탕으로 본 연구는 창조이자 치유의 과정을 작품 활동을 통해 스스로 불안에 맞섬으로써 자기실현에 도달하고자 했던 Bacon의 작품에 새로운 시각을 제시하는 데에 의의가 있다.

형상의 폭력에 표현된 까뮈의 ‘부조리 감성’ : 프란시스 베이컨 회화를 중심으로

이원숙(Lee Wonsook) 한국문화융합학회 2021 문화와 융합 Vol.43 No.12

본 연구는 프란시스 베이컨(Francis Bacon, 1909~1992)이 해체하고 변형한 형상의 ‘폭력성’에 주목하여 이를 그로테스크로 읽고 ‘부조리’의 관점에서 해석하고자 한다. 우선 ‘고깃덩어리’로 묘사되는 형상과 색채의 ‘잔인함’과 ‘폭력성’은삶에 내재한 비극적 유한성, 불안과 고통을 수용하는 베이컨의 실험적 태도의 결과이다. 이러한 베이컨의 무규정적 형상이 제시하는 충격과 당혹스러움은 은폐된 인간의 본질과 예측 불가능한 삶의 불투명성을 표현하는 것이라 할 수 있다. 이는 고통과 무의미함으로 가득한 삶의 부조리에 주목한 까뮈(Albert Camus,1913~1960)의 논의로 연결할 수 있다. 그래서 본 연구는 그로테스크적 형상으로 표현된 베이컨회화의 ‘잔인함’과 ‘폭력성’, 즉 기괴한 변형의 표현이 인간과 삶에내재한 고통을 있는 그대로 묘사함으로써 직시하고 수용하여 극복하는 것으로 해석하고, 이를 까뮈가 말하는 ‘부조리의감성’으로 연결하여 논의하고자 한다. 이러한 그로테스크의 미학적 의의는 불편한 낯섦과 충격을 정면으로 마주함으로써인간을 재해석할 수 있는 새로운 관점을 만들 수 있으며 이를 통해 부조리로 가득한 삶을 이해하고 포용하는데 도움이될 수 있다는 데 있다. 부조리한 삶 한 가운데 외롭지만 견뎌내고 버텨낸다는 그 자체만으로 인간은 위대하다고 말하는까뮈, 그로테스크한 형상으로 인간의 숨겨진 본성, 본질을 인정하고 바라볼 수 있는 용기를 주는 베이컨은 모두 ‘그럼에도 삶은 기꺼이 살아갈 만 하다는 것’을 각자의 영역에서 보여주고 있기 때문이다. This study draws attention to the ‘violence’ of Francis Bacon’s deconstructed and deformed shapes, reading them grotesque and interpreting them in terms of ‘absurdity’. First of all, the ‘cruelty’ and ‘violence’ of the shapes and colors described as ‘meatballs’ are the result of Bacon’s experimental attitude to embracing the tragic finite, anxiety and pain inherent in life. The shock and embarrassment presented by this non-normative shape of Bacon can be said to express the hidden nature of man and the opacity of unpredictable life. This can be linked to Camus’s discussion of the absurdity of a life filled with pain and insignificance. So this study interprets the ‘cruelty’and ‘violence’ of Bacon’s paintings, expressed in grotesque shapes, that is, the expression of bizarre transformations, as they face, accept and overcome the pain inherent in human and life, and connects it with the ‘sensibility of absurdity’ that Camus speaks of. The aesthetic significance of these grotesques lies in the fact that by facing uncomfortable strangeness and shock, they can create a new perspective that can reinterpret humans, and that can help them understand and embrace absurdity-filled lives. Camus, who says that man is great by himself, who is lonely in the midst of an absurd life, and Bacon, who gives him the courage to recognize and look at the hidden nature and essence of man in grotesque shapes, all show in their own realms that ‘Life is willing to live nevertheless.’

회화 안의 시간 : 들뢰즈의 『감각의 논리』의 시간적 변조 개념 연구

조수인(Cho, Su-In) 인제대학교 인간환경미래연구원 2019 인간 · 환경 · 미래 Vol.- No.23

화폭 안에 시간이 담길 수 있을까? 본고는 들뢰즈의 저작 『감각의 논리』에서 제시되는 시간적 변조temporal modulation 개념을 통해, 회화 속에서 감각이 생산되는 시간의 논리를 밝히는데 목표를 둔다. 영국 현대화가 프랜시스 베이컨의 작품에 집중해 자신의 회화론을 전개하는 이 저작에서 들뢰즈는 베이컨의 캔버스에 "시간자체가 칠해진다"라고 주장한다. 그러나 흘러가는 시간과 이에 따른 움직임이 명백히 감지되는 영화나 음악과 달리, 물감이 굳어있는 화폭은 공간 속에 가만히 멈춰있는 것처럼 보이기 때문에 이러한 주장은 예술 장르의 시간성에 대한 통상적 이해에서 벗어나는 것처럼 보인다. 본고는 들뢰즈가 말하는 베이컨의 회화 속 시간을 이해하기 위해 『감각의 논리』에서 들뢰즈가 언급하는 베이컨 회화 속의 두 영역인 아플라 즉 빛나는 단색조의 바탕, 그리고 그 안에 앉거나 누운 다색의 형상이 서로 관계하며 감각의 시간을 빚어내는 방식에 주목한다. 들뢰즈는 이 두 색 영역들 사이에서 일어나는 변조에 의해 작동하는 시간을 시간의 색, 즉 "크로노크로미Chronochromie"라고 부른다. 본고는 들뢰즈의 변조 개념을 면밀히 검토하여 베이컨 작품 속에 드러난 색의 변조를 일관된 맥락 아래 이해함으로써 감각하는 시간이 생산되는 논리를 밝히고자 한다. Can "time" be painted? In Francis Bacon: The Logic of Sensation, Deleuze claims that Bacon"s painting renders time by stating that, "Time itself is being painted." Yet, how is time "being painted" on a canvas that statically occupies a space? This claim seems to depart from our general understanding of the genre of art, more specifically a painting. Time is more likely to be associated with other artistic genres such as film, or dance, where the duration is more obvious. Then, how could we understand the Baconian temporality? In Francis Bacon, Deleuze pays attention to the relationship between the two areas of Bacon’s paintings, the field of monochromatic background, and the multicoloured Figures sitting or lying in it. And Deleuze says that the interaction of time works through the modulation of colour between these two areas. Deleuze here uses the word "Chronochromie," “Colour of Time” to describe the time painted in Bacon"s canvases. Nonetheless, the relationship between the Baconian modulation of colour, and time have not been yet closely examined. Accordingly, this paper attempts to show that understanding the modulation is a critical link in grasping the time produced by the colour of time created by the interplay of the field and the Figure in Bacon’s canvases. To put it concretely, I argue that in the light of the Deleuzian modulation, we could understand the production of the time of sensation in Bacon’s canvases.

프랜시스 베이컨과 자연의 수사학

이상헌(Rheey Sang-Hun) 한국수사학회 2010 수사학 Vol.0 No.13

Francis Bacon was one of the most important people In our discussing the natural science and the scientific method in the bridging era between Renaissance and early modern. The influence of his thought and works on the early modern scientists, including Newton, Boyle, Hooke, and countless other continental scientists, was stronger than what we know. Today we approve the authority of science and hold scientists in respect. This was not true in the middle and the early modern ages. The dramatic shift of the common attitude on science and scientist, I argue, was possible through the efforts of Francis Bacon. In this paper I question how he succeeded in public communication, changed the attitude of contemporaries, and acquired the social identity of science and scientist. I argue that the great success of Bacon was depending on the his rhetoric. He made active use of rhetorical strategy to communicate with contemporaries. The 'Instuaratio Magna', compared to restoration of the lost paradise, the 'book of nature', to the 'book of God', the 'scientia potentia', to the pure knowledge of Adam, are the examples.

프란시스 베이컨 회화의 리얼리즘 연구: 이미지의 二重性에 대한 논의를 중심으로

이민수 미술사연구회 2009 미술사연구 Vol.- No.23

The theme of the painting of Francis Bacon is the figure of the humans. However, that figure is torn out and distorted like the body afflicted with the violence, so that its vivid color and tangible feeling of living flesh always attracts the eyes of the viewers, not to mention of the strong sense of horror. Very surprise for that distorted figure is to keep the relation of analogy with the object, which is distant from the representation in the traditional paintings. Nonetheless, those characteristics of the Bacon’s painting once made him to be recognized as a painter just in line with the traditional figurative paintings, or as an expressionist who participated in the suffering of the age and the pain of the existence after the World War II. However, he would reject any analysis about his works and refuse himself to be classified into any category from the critics. So the art-historical study of his painting has been thoroughly performed in the biographical perspective or through the interviews with the painter himself. Among the various scholars of his painting, a common point has been established regarding the coexisting characteristic of two opposite elements, such as figurative vs. non-figurative, or traditional vs. nontraditional. The origin of my thesis is to affirm and enrich this coexisting dualistic characteristic of the Bacon’s painting, now widely admitted in the art-historical field. This is ultimately related to identifying the meaning of what is the‘analogy distant from the representation’in the images of Bacon. He put great emphasis on the responsibility of the contemporary paintings to re-invent the reality through a new way, breaking the representative and illustrative images in the traditional paintings. What is in the world the new way Bacon keeps emphasizing and what is the reality he pursues with his works? In order to answer these questions, thus, my thesis examines not only the major art-historical issues but also the philosophical studies about the Bacon’s painting. This is a new attempt to see the duality and its reality of his painting in a wider perspective, which relatively lacked in the traditional art-historical studies.

프란시스 베이컨 회화의 리얼리즘 연구

李旼修(Lee Minsoo) 미술사연구회 2009 미술사연구 Vol.- No.23

The theme of the painting of Francis Bacon is the figure of the humans. However, that figure is torn out and distorted like the body afflicted with the violence, so that its vivid color and tangible feeling of living flesh always attracts the eyes of the viewers, not to mention of the strong sense of horror. Very surprise for that distorted figure is to keep the relation of analogy with the object, which is distant from the representation in the traditional paintings. Nonetheless, those characteristics of the Bacon’s painting once made him to be recognized as a painter just in line with the traditional figurative paintings, or as an expressionist who participated in the suffering of the age and the pain of the existence after the World War II. However, he would reject any analysis about his works and refuse himself to be classified into any category from the critics. So the art-historical study of his painting has been thoroughly performed in the biographical perspective or through the interviews with the painter himself. Among the various scholars of his painting, a common point has been established regarding the coexisting characteristic of two opposite elements, such as figurative vs. non-figurative, or traditional vs. nontraditional. The origin of my thesis is to affirm and enrich this coexisting dualistic characteristic of the Bacon’s painting, now widely admitted in the art-historical field. This is ultimately related to identifying the meaning of what is the‘analogy distant from the representation’in the images of Bacon. He put great emphasis on the responsibility of the contemporary paintings to re-invent the reality through a new way, breaking the representative and illustrative images in the traditional paintings. What is in the world the new way Bacon keeps emphasizing and what is the reality he pursues with his works? In order to answer these questions, thus, my thesis examines not only the major art-historical issues but also the philosophical studies about the Bacon’s painting. This is a new attempt to see the duality and its reality of his painting in a wider perspective, which relatively lacked in the traditional art-historical studies.

복식과 회화에 표현되는 몸의 재현 프란시스 베이컨의 -작품과 레이 카와쿠보의 컬렉션을 중심으로-

임은혁 ( Eun Hyuk Yim ) 한국패션비즈니스학회 2013 패션 비즈니스 Vol.17 No.4

In examining the relationship between fashion and art which are intimately interrelated, the body is a suitable subject in that it is the common object of representation. This study investigates and compares the images of the body in Francis Bacon`s paintings from 1940s to 1970s and the formative aspect and aesthetic value of the abstract body images in Rei Kawakubo`s designs since 1980s. The figures in Bacon`s paintings are confusingly and atypically deformed as well as distorted, which are the combinations of the anatomies without references, not so much represented objects as experienced sense. Kawakubo`s designs attempt to deform the body, moreover, she transforms the body; represent abstract forms without association with any other figures that exist, emphasizing sculptural or architectural shapes of garment. She suggests extensive visual language of dress by challenging the norms of beauty. The body in Bacon and Kawakubo`s works is dispersive as well as complex in that the body images are deconstructed, fragmented, and exaggerated. Respectively, they articulate the perception of the body in postmodernism era by destroying the myth of subject; furthermore establish the aesthetics that transcend conventional ideals by reevaluating as well as refusing the standards of beauty.

베이컨에 대한 페미니스트들의 비판과 베이컨의 수사학

이종흡(Jong-Heup Lee) 한국수사학회 2006 수사학 Vol.0 No.4

This essay examines a series of feminist criticism against the Baconian project of "Great Instauration" whose main target has been on the so called 'Baconian masculine violence of Nature'. With general emphasis on Francis Bacon's idea of 'fact' or factual knowledge in its historical formation, my arguments are put forward the following three points. First, the feminists' criticism can be considered as a result of their misinterpretation of Baconian juridical metaphors. Second, Bacon's juridical metaphors were the rhetorical devices to have contemporary readers understood his new idea of fact or factual knowledge. Third and finally, the feminist critics properly pinned out Bacon's responsibility of feminization of 'passions' but missed the unique meaning of his identification of an intrinsic drive to utility as a dominant passion. To make up for this missing point, I propose a new conception of 'rhetoric of utility' by which I mean a long-term Western political strategy of harnessing all the other violent passions with a persuasive and strong but calm and nonviolent passion for 'utility'. This conception inspired from Quentin Skinner's study on Thomas Hobbes can be supported by the 16th-17th century common use of a figure, 'paradiastole.'

사실의 문제와 영국 과학문화의 형성 -베이컨의 자연사와 협동 개념을 중심으로-

이종흡 ( Jong Heup Lee ) 한국서양사학회 2003 西洋史論 Vol.0 No.76

This essay examines one of the characteristics of modern English scientific culture in its historical origin, considering Francis Bacon’s concepts of natural history and cooperation as the building blocks for the approach to it. His definition of natural history is interpreted as a response against the rapid ‘expansion of experiences’ in 16th century England, which has been on way in the humanistic-textual, magicalmechanical, and entertaining-embellishing directions. Against these currents, Bacon emphasized two points, one of which was knowledge from res against that from verba and the other was factual knowledge against fictional pseudo-knowledge. Only the factual knowledge sifted from the empirical information on things can be the proper foundation of his natural philosophy in a pyramidal structure from natural history through physics to metaphysics. I analyse this `pyramid` in a politico-cultural viewpoint no less than in its epistemology. While it means the increasing certainties or causal knowledges with the proportionally increasing utilities, it also justifies the necessity of ‘cooperation’ between the sorts of professions and the men of leisure in a public sphere. By ‘cooperation,’ Bacon intended the control and management of both knowledge and its practitioners under the state, and tried to satisfy a couple of urgent agenda of Tudor-Stuart regime, i.e., economical growth and social order. His program for this, titled as “Great Instauration,” marks a starting point of the English scientific culture which has given relatively important significance to the factuality of experiences. This cooperative configuration of ‘parliament of things’ ― where all of its members had their several voting rights in deciding ‘facts’― also gives us a clue to go beyond the existing cultural interpretations of the post-Baconian English scientific practices. (Kyungnam University /jongheuplee@wisc.edu)

사뮈엘 베케트의 『그 시간』—무한 속으로 스러지는 미소

윤화영 새한영어영문학회 2018 새한영어영문학 Vol.60 No.1

This essay examines Beckett’s short play That Time in relation to Deleuze’s study of Francis Bacon’s painting. In Francis Bacon: The Logic of Sensation, Deleuze points out that Beckett and Bacon share strikingly common aesthetic features in their endeavor to make the invisible force of life ‘visible.’ Isolation of the Figure in the round area, then deformation of the figure from the organic body to the inorganic flesh and dissipation of the deformed figure into the darkness of the background are three successive stages taking place in Bacon which Deleuze defines as an aesthetic process to have ‘an inorganic force of life’ reserved in time unfolded through sensation given to our bodies. The essay ascertains that the same three phases can be found in the theatrical assemblage of Beckett’s That Time and close parallelism between Bacon’s painting and the composition of the play can be established. The essay concludes that the smile the head makes at the final moment of the play embodies an encounter between the Time which is spiritual and the flesh that is material. The head is decomposed by the smile, a sign of the rupture of the figure through the invisible force of time, which forces it(him) to escape from the material world dissipating into infinity.